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David Hockney
Rencontres, Color Lithograph, Signed, Edition of 1500, 1964 (~34% OFF)

1964

$848.48
$1,30034% Off
£646.73
£990.8834% Off
€745.93
€1,142.8834% Off
CA$1,205.10
CA$1,846.3934% Off
A$1,295
A$1,984.1434% Off
CHF 694.84
CHF 1,064.6134% Off
MX$15,254.33
MX$23,371.9434% Off
NOK 8,736.89
NOK 13,386.2434% Off
SEK 7,981.09
SEK 12,228.2434% Off
DKK 5,574.79
DKK 8,541.4334% Off

About the Item

David Hockney Rencontres 1964 Color Lithograph Size: 12.68 × 19.21 inches (32.2 x 48.8 cm) Signed in plate Edition: 1,500 Publisher: Galerie Krugier Cie, Geneva, Switzerland From "Suite No. 8" Printer: Matthieu, Zurich and Gallay, Geneva, Switzerland With Centerfold as issued, not individually numbered COA provided David Hockney emerged in the early 1960s as one of the most distinctive voices of postwar British art, gaining prominence while studying at the Royal College of Art in London. During this period, Hockney developed a highly personal visual language that combined figuration, text, and flat areas of color, often addressing themes of identity, desire, and everyday life. His early paintings and drawings from the 1960s are marked by a raw directness and conceptual clarity, reflecting both the influence of Pop Art and his engagement with contemporary literature and politics. Openly addressing homosexuality at a time when it remained criminalized in Britain, Hockney’s work from this decade is notable for its quiet defiance, emotional restraint, and intellectual wit, laying the foundation for his later explorations of perception, space, and representation. The suite this print is part of sparked an extended dialogue between gallerist Jan Krugier and critic J.-L. Daval, addressing fundamental questions of modern and contemporary art: abstraction versus figuration, individual artistic vision versus stylistic movements, and the nature of artistic authenticity. Rather than positioning artists within rigid schools or trends, the discussion emphasizes personal experience, inner necessity, and the expression of lived reality as the true drivers of meaningful artistic creation. Throughout the conversation, both speakers reject the notion that art is governed by fashion, taste, or market forces. Instead, they argue that enduring works arise from an artist’s ability to transform experience into a distinct visual language—one that transcends past conventions while remaining deeply anchored in its time. Modernity, in this context, is not defined by stylistic labels, but by the capacity to confront reality with clarity, independence, and conviction. The text further asserts that great works of art are not bound by historical categories, movements, or critical theories. A masterpiece emerges when form, content, and consciousness align—producing an image that speaks beyond its moment and resists simplification. The dialogue ultimately frames art as an act of resistance against complacency, convention, and superficial aesthetics. David Hockney, 1960s art, British modern art, Pop Art, figurative painting, Royal College of Art, postwar art, contemporary British artists, modern drawing, identity in art, conceptual painting, twentieth-century art, figurative modernism, art history, visual culture modern art, contemporary art, fine art publication, exhibition catalogue, art theory, art history, European modernism, museum-quality work, postwar abstraction, avant-garde art, visual culture, art criticism, modernist philosophy, collectible art, important artist
  • Creator:
    David Hockney (1937, British)
  • Creation Year:
    1964
  • Dimensions:
    Height: 12.68 in (32.21 cm)Width: 19.21 in (48.8 cm)
  • Medium:
  • Movement Style:
  • Period:
  • Framing:
    Framing Options Available
  • Condition:
  • Gallery Location:
    Kansas City, MO
  • Reference Number:
    1stDibs: LU608317468112

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